Skip is a parameter that is rather common for analog sequencers, and it is usually expressed as a dedicated switch for each step in a sequencer. When skip is activated on a step the sequencer jumps over that step. This can be used creatively to reorganize the sequence in real time and as another means to define the length of a sequence. Good modern examples utilizing this feature are the Dark Time sequencer from Doepfer and the R24 from Grp.

Shuffle or swing amount control allows you to loosen up your rhythms in order to achieve a certain groove. More often this parameter is applied globally, but some sequencers allow you to make this adjustment per track (Ex.: Erica Synths' Drum Sequencer). In basic terms, this is accomplished by moving certain notes a little bit before or after the beat. However, exactly how this control is implemented varies across devices, and it can be a very distinctive element of a sequencer.

Following the demand to create increasingly complex and intricate rhythms many modern sequencers also offer ratcheting—a parameter that allows users to program bursts of triggers of various note values per-step. Anything from 8th and 16th note divisions to common tuplets can be programmed to trigger on any given step—a feature that would make any IDM or Breakcore producer circa late-90s jealous. Ratcheting may be found in many modern day sequencers. Examples include the Intellijel Metropolix, Malekko Varigate modules, WMD Metron, and others.

Some sequencers also allow users to define step duration (how long a sequencer stays on a certain step). This is not very common, and only a few devices have this feature built into them, but those that do open room for some very unique sequencing possibilities. Inspired by RYK Modular's M186 sequencer for Roland modular systems, the Intellijel Metropolix allows you to rest on or repeat individual steps for up to 8 pulse counts of a clock. With a significantly different approach, Buchla's 248 Multiple Arbitrary Function Generator (MARF) influenced the designs of Make Noise's 0-CTRL, Verbos' Voltage Multistage (some self patching involved), and the Frap Tools USTA, which offer users to continuously adjust the step duration parameter. Of course, this feature can even be programmed using the classic Moog 960 or similar devices simply by patching one of the sequencer's outputs back into its clock generator's frequency CV input.

Probability and Randomness

While using electronic instruments grants the composer-musician an unprecedented amount of control over each and every element of the composition, part of what makes playing music with other people so much fun is exactly the element of uncertainty of what the other person may do. Chance and a certain level of randomness allow for new things to enter and to pave new musical pathways. This was noticed in the mid 20th century by the composer John Cage, and the concept naturally penetrated the world of electronic music, influencing the emergence of such movements as ambient music, generative and algorithmic composition. There are many ways to let go of control and let the element of chance into your compositional process, and sequencers are a great framework for that.

Some sequencers allow for randomization of their parameters to a varied extent. Let's take the Winter Modular Eloquencer as an example. This sequencer presents a myriad of ways to inject the element of chance into your compositions. With a press of a button you can create entirely new randomly generated patterns—this can be approached as a point of inspiration, and you can modify the sequence to suit your needs best further. Eloquencer also allows you to select which particular parameters should be randomized. This is a more subtle approach, and you can use it to create variations on the same sequence as you develop it. For example, you can keep the same rhythm but randomize gate lengths and ratcheting options for each step. Furthermore you can even let fate decide how to move across the sequencer patterns with such options as coin toss mode (50/50 chance the sequence will move to next or to previous pattern), and drunk mode (with each iteration the sequence lands either on previous, current or next pattern).

Probability is yet another way to spice up your sequences and make them less predictable. In sequencers, probability is typically expressed in percentages specifying the likelihood of some events to occur. Malekko's Varigate 4+ and 8+ are excellent examples of such. The modules' slider-based interface provides a very intuitive way to set the probability of each step triggering, thus making it insanely easy to create complex sequences with minimal hand movements. The above mentioned Eloquencer also allows you to dial in the likelihood of triggering per step, however it takes the concept even further and lets you apply probability settings to choose between two different CV values, gate lengths, roll types and ratcheting variation, etc. Probability ratios can also be accessed in the sequencers built into the Elektron machines, which have become staples for modern day electronic music production and performance.

Outside Influences

Not only can sequencers provide control for your entire setup, but many are also equipped to accept external signals (or MIDI data) beyond simple clock pulses and respond to them in various ways. For example many MIDI-enabled sequencers will allow you to connect an external controller to enter data into the sequence, transpose the sequence, control parameters, etc.

Given the nature of Eurorack format where anything can potentially influence anything via CV/Gate I/O, this can get very interesting. Using modulation sources to control the rate of the sequencer or to scan across sequencer steps is only a tip of the iceberg. Complex digital sequencers like Metropolis, Eloquencer, and Squarp Hermod have assignable CV inputs which can process control voltages internally by the sequencer (i.e. quantize it) and/or apply it to control sequencer parameters (i.e. transposing, offsetting, randomizing, muting/unmuting channels). Feedback patches with sequencers may also yield very unique results. For example, you can use one of the channels on the sequencer to dynamically change the global speed of that sequence, shift octaves per step or alter the length of the sequence.

If you are a type of person that values immediacy in the creative process, a one- or two-channel sequencer may be a much more effective tool for you. Afterall, there is no shortage of ways electronic music equipment can be combined with one another. Combine a sequencer with a looper to layer parts. Split the output of the sequencer, use some of the outputs to feed a sample and hold or an analog shift register, attenuate or reverse an output, run an output through a lag processor and you've got several related but different sequences. Again, limitations can really get creative juices flowing. Verbos Electronics' Voltage Multistage is a great example of such straight-forward, yet open and tweakable sequencer. Two sets of eight sliders, and eight dedicated switches are very easy to control and follow. Independent gate outputs per step are very useful for triggering different audio events in your patch. The sequencer can also be reconfigured in many ways, offering options to adjust lengths of the sequences or influence a non-linear movement of the playhead. A similar approach can be taken with Make Noise's 0-CTRL, Brains + Pressure Points combo, and Random Source's Serge TKB. All of these tools present a very immediate and inspiring way of interacting with your instrument, yet if you are looking for something to compose pieces with many changing parts that are all stored and recalled at will, the limited amount steps, and channels, as well as no internal memory or ability to save presets may appear to you as shortcomings.

Another thing to decide on is what shape would you want the sequencer to come in: standalone, eurorack module or software. Software sequencers take no space, but then you have to use a computer or a tablet. Eurorack sequencers tend to not be merciful on the HP, but if your modular synth is your main instrument, having a sequencer racked means that you don't need to carry any additional hardware for your gigs. Finally, standalone sequencers can provide a very clean workflow with no cable-clutter, albeit you have to carry them separately. You can also utilize sequencers native to the groovebox you are using, and then again that machine then needs to be essential to your workflow as other pieces will be dependent on it.

For many hybrid-setup scenarios you may also want a MIDI-to-CV and/or CV-to-MIDI interface to translate the data and signals across formats. Some sequencers like Squarp Pyramid and Hermod have a MIDI-to-CV interface built into them, but in the vast majority of cases you'll require a separate device (or an expander) to handle that. Expert Sleepers FH-2, Endorphines Shuttle Control, Tubbutec uTune, and Befaco's VCMC are some of the best options.

You may also find that one sequencer is not enough for you, as different workflows spark up new ideas, and you may prefer one sequencer for melodies, another one for drums, and yet another one for various nonlinear experimental tricks. Or maybe a certain sequencer works best for you in the studio, while another one checks all the boxes as a performance instrument.

With all of that said, of course the best way to find out which tools suits your needs best is to keep trying them, and take notice as you go of how you feel using this or that. The good news is that in the present landscape of music instruments, everyone can surely find something that helps their creative expression best.